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Impacts of culture change
The relationship between dance and culture
How does dance reflect your culture
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“Dance has no language”- it is often said at the concerts and festivals. Indeed, in order to understand the beauty of the dance and what dancers want to express you do not need to know particular language, so Kazakhs, Russians, Koreans, Germans, Chinese etc. will perceive dance performance in the same way. Traditional dance involves not only dance performance, but traditional national music, costumes and attributes as well. So, through the traditional folk dances people can get acquainted with one or another’s culture. However, according to Bridget Rose Nolan (2008, 8) the nature of the traditional dances are very complex, and the question about to what extent such dances are traditional is arguable. She states that “dance is arguably one of the hardest forms of cultural expression to pass from one person to another unchanged, let alone from one generation to another through hundreds of years”. As Brennan (1999, 15)said “dance is, by its nature, ephemeral”. Brennan points that traditional dance itself underwent the process of evolution. Nevertheless, culture is learnt, so it can be changed and it changes slightly from one generation to another, and traditional dance as a part of culture changes as well. This will not be the eradication of culture. Therefore modern traditional dances can be regarded as part of culture and they can be considered as the way to understand particular culture. This paper is focused on this way, to be precisely, how traditional dances affect the understanding of culture. Firstly, the research problem will be described. Then essay will proceed to the description of the practical part, particularly, of the fieldwork, methods and expectations of the participant observation. Furthermore, there will be an an...
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...ered that choreography students do not identify with any culture, including their own one, during the dance performance. So, the expectations about the changes in the behavior by the influence of the folk costumes and attributes were met, though the expectations about the feelings of the other cultures were not met. Therefore, folk dances can present culture of the particular folk, but the performances of the folk dances not always involve the understanding of the culture.
Bibliography
Brennan, H. The Story of Irish Dance. Ireland: Mount Eagle Publications, 1999.
Haviland, William A., Harald E.L. Prins, Bunny McBride, and Dana Walrath. Cultural Anthropology: The Human Challenge. Wadsworth Publishing, 2011.
Nolan, B.R. "Tradition, Modernity, and Authenticity in Riverdance." American Sociological Association Annual Meeting. Boston, 2008. 1-17.
“Who knows only his own generation remains always a child.” This quote from George Norlin echoes the edification that cultural exposure can offer. How does African dance relate to do modern dance? The two are so heterogeneous in their make-up that one would not think of them as having similarities. The truth, however, is that all dance forms are linked in some way or another; they all strengthen and sharpen each other. Modern dance has its roots in African dance with the emphasis placed on the connection of weight and gravity. Brenda Dixon Gottschild names five aesthetics that are present in African dance. A particular piece that draws attention to the relation of the five aesthetics to modern dance is “Split Sides”, choreographed by Merce Cunningham.
Cultural Anthropology: The Human Challenge, 14th Edition William A. Havilland; Harald E. L. Prins; Bunny McBride; Dana Walrath Published by Wadsworth, Cengage Learning (2014)
Robbins, R. H. (2014). Cultural anthropology: a problem-based approach (Second Canadian ed.). Itasca: F.E. Peacock.
Learning about Dance: Dance as an Art Form and Entertainment provides visions into the many features of dance and inspires scholars to keep an open mind and think critically about the stimulating, bold, ever-changing and active world of dance. Learning about Dance is particularly useful for those who do not have a wide and diverse dance contextual, such as students in a preliminary level or survey dance course. This book consists of twelve chapters. Chapter one dance as an art form focuses on the basic structures of dance. Dance is displayed through the human body, it has the control to communicate and induce reactions. Dance can be found in many different places, it enables the participants and seekers to touch and knowledge the joy of movement. Dance is discovered as being one of the oldest art forms worldwide. Dance existed in early cultures was recognized in a sequence of rock paintings portrayed dance. Since this discovery of rock paintings, several other forms of art have been found that depict dance. People used rituals in order to worship the gods and believed that the rituals held magical and spiritual powers. During the ancient period civilizations sentient decisions began to be made with regard to dance. Other periods that had an impact on dance were the medieval period, the renaissance period, and the contemporary period. Chapter two the choreographer, the choreographer is a person who comes up with the movements created into a dance routine. The choreographer expresses themselves through choreography because this is their way of communicating with the audience. In order to be a choreographer you must have a passion for dance. Each choreographer has their own approaches and ways of making up a routine. Choreographers ...
Peña, Manuel H. "Ritual Structure in a Chicano Dance." University of Texas Press: Latin American Music Review Spring- Summer 1980 1.1 (1980): 47-73. Print.
...ating with each other and these are the same values that are being passed on to this generation. The dancers in South-central Los Angeles, uses this form of art to express their feelings and it a form of communicating just like their ancestors did back in there days. At the same time, it allows them to have a much deeper connection with their roots.
The Folklorico group presentation I was honored to observed was the “Grupo Folklorico Juventud” from North Salinas High School. I decided to attend to this presentation because I use to be part of this Folklorico group. I also enjoy watching the dances for the reason that I believe they are beyond beautiful. It is amazing how a simple dance could transmit so much information while representing a region from Mexico. From my observation experienced, I noticed every region has different movements and customs for a reason. While observing the presentation I noticed most women used long skirts to create different shapes. They usually create the eight shape, half a circle or an entire circle which is created when the dancer does an entire spin while holding and moving their skirt. The skirt is also moved in different levels, such as high, medium, and low. The two levels that are used in most of the dances is the high and the medium level. While dancing the men and women usually do the same steps and movements. All the dances include “zapateados” which are known as foot dances or stomps. The “zapateados” are usually done with different parts of the feet such as the toe, heel and the sole of the feet. The dances include “zapateados” with different sections of the feet because every part creates a different sound. Most of the dances also include jumps and turns. It is extremely important for the
Robbins Burling, David F. Armstrong, Ben G. Blount, Catherine A. Callaghan, Mary Lecron Foster, Barbara J. King, Sue Taylor Parker, Osamu Sakura, William C. Stokoe, Ron Wallace, Joel Wallman, A. Whiten, Sherman Wilcox and Thomas Wynn. Current Anthropology, Vol. 34, No. 1 (Feb., 1993), pp. 25-53
Ramsay, B. (2000). Dance theory, sociology, and aesthetics. Dance Research Journal, 32(1), 125-131. Retrieved from http://www.jstor.org/stable/1478286
The Ghost Dance; Ethnohistory and Revitalization. Chicago: Holt, Rinehart and Winston Inc, 1989. Lawrence, Elizabeth Atwood. “Sun Dance.”
The work ‘Ghost Dances’ by Christopher Bruce was viewed on 26th August, 2011 to the Year 12 Dance class. The individual interpretation of the social/political or world issue/ comment the piece is attempting to make. Using direct examples from the performance, the use the choreographer has made of the movement and the non-movement components have been identified. Also the effectiveness of this piece has been evaluated.
Schultz, Emily A. & Lavenda, Robert H. 2005, Cultural Anthropology, 6th edn, Oxford University Press, New York, Chapter 3: Fieldwork.
Park, M.A. (2008). Introducing anthropology: An integrated approach, with PowerWeb, 4th Edition. New York: McGraw-Hill. ISBN 978–0-07-340525-4
Belly dancing is thought to date back into the third millennium BCE in the Middle East, with evidence of solo improvised dance seen in Egyptian paintings, figurines, and tombs (Shay & Sellers-Young, 2005: 3). There are now several different versions of this dance in the Middle East, for example, the shikhat in Morocco, the ciftetelli in Turkey, and the raqs sharqi in Egypt (Shay & Sellers-Young, 2005: 2). While these dances are similar in movements, the dance’s meanings differ in each culture. Here in the United States, we adopted and renamed belly dance in the late 1890’s from the Middle East, but based our understandings of the dance off of mistaken notions we assumed to be true in those countries. The meanings of belly dance in the United States have been shaped by orientalist views, and therefore are misrepresentative of the true connotations. Several contradictions exist between what Americans see belly dance as and what is actually true in the Middle Eastern culture, such as the implications of the dance, the dress and context of the dance, who actually dances, and spiritual significance.
“Dance, the art of precise, expressive, and graceful human movement, traditionally, but not necessarily, performed in accord with musical accompaniment. Dancing developed as a natural expression of united feeling and action.”